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A Theory of Harmony
In this introduction to natural-base music theory, Ernst Levy presents the essentials of a comprehensive, consistent theory of harmony developed from tone structure. A Theory of Harmony is a highly original explanation of the harmonic language of the last few centuries, showing the way toward an understanding of diverse styles of music. Basic harmony texts exists, but none supply help to students seeking threads of logic in the field. In a text abundantly illustrated with musical examples, Levy makes clear the few principles that illuminate the natural forces in harmony. He shows that general principles can be successfully extracted from the wealth of examples. This book actually provides a theory of harmony.
One of the major musical minds of the twentieth century, Ernst Levy was born in Basel, Switzerland, in 1895. His musical career spanned more than seven decades, from his first public piano performance at age six. A naturalized U.S. citizen, he lived here from 1941 to 1966, teaching at the New England Conservatory, the University of Chicago, Bennington College, the Massachusetts Institute of Technology, and Brooklyn College. After his retirement Levy returned to Switzerland, where he continued to compose until his death in 1981. He was an enormously productive composer, with hundreds of works to his credit, including symphonies, string quartets, songs in English, French, and German, and music for solo instruments and small ensembles. His piano recordings, particularly of the last Beethoven sonatas and the Liszt sonata, have become collectors' items. He thought of himself as a successor to Reimann, immediately, and Rameau, more remotely.
One of the major musical minds of the twentieth century, Ernst Levy was born in Basel, Switzerland, in 1895. His musical career spanned more than seven decades, from his first public piano performance at age six. A naturalized U.S. citizen, he lived here from 1941 to 1966, teaching at the New England Conservatory, the University of Chicago, Bennington College, the Massachusetts Institute of Technology, and Brooklyn College. After his retirement Levy returned to Switzerland, where he continued to compose until his death in 1981. He was an enormously productive composer, with hundreds of works to his credit, including symphonies, string quartets, songs in English, French, and German, and music for solo instruments and small ensembles. His piano recordings, particularly of the last Beethoven sonatas and the Liszt sonata, have become collectors' items. He thought of himself as a successor to Reimann, immediately, and Rameau, more remotely.
- GenresMusic
112 pages, Paperback
First published August 1, 1985
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Displaying 1 - 8 of 8 reviews
May 24, 2017
This interesting little book presents some intriguing theoretical ideas that have seen a recent revival per the popular youtube interview with Jacob Collier. Collier discussed the concept of "negative harmony" and referenced this work; however, Levy doesn't ever use the term. Rather, Levy's original theory is a continuation of the dualist thought of Riemann and Rameau. I don't know if Levy would refer to this type of harmonic understanding as "negative harmony," but the colloquial term is certainly here for good.
Levy's theory, like the theoretical work of Rameau and Riemann, incorporates a fair amount of appeal to philosophy, acoustics, and scientific method. While this aspect of theory is always fascinating to me, I wished that this book-- short as it is-- would stick to the practical theory. Much of the book is concerned with expounding Levy's large-scale theoretical ideology; I would have appreciated a greater amount of depth with regard to the technical facets of Levy's theory. Because the book is so brief, Levy touches on a multitude of ideas and potential directions but barely scratches the surface on any one concept. For the reader interested in discovering more "negative harmony," there is not much more to know in Levy than in Collier's interview.
A small complaint-- I frequently felt bogged down by Levy's unique functional shorthand. It is clearly influenced by Riemann's functional symbols, but I would have to spend a tremendous amount of time unravelling Levy's explanations before I could feel comfortable with its use. Furthermore, their usefulness is limited to analysis within Levy's system, and I am not convinced enough by the totality of his theoretical framework to consider investing the time and energy.
Altogether, Levy's A Theory of Harmony is a thought-provoking work which points interested performers, improvisers, composers, and theorists in plenty of new directions. While I wish Levy's ideas were fleshed-out in a more useful and accessible way, I am grateful that the text was published at all and made available to interested readers.
Levy's theory, like the theoretical work of Rameau and Riemann, incorporates a fair amount of appeal to philosophy, acoustics, and scientific method. While this aspect of theory is always fascinating to me, I wished that this book-- short as it is-- would stick to the practical theory. Much of the book is concerned with expounding Levy's large-scale theoretical ideology; I would have appreciated a greater amount of depth with regard to the technical facets of Levy's theory. Because the book is so brief, Levy touches on a multitude of ideas and potential directions but barely scratches the surface on any one concept. For the reader interested in discovering more "negative harmony," there is not much more to know in Levy than in Collier's interview.
A small complaint-- I frequently felt bogged down by Levy's unique functional shorthand. It is clearly influenced by Riemann's functional symbols, but I would have to spend a tremendous amount of time unravelling Levy's explanations before I could feel comfortable with its use. Furthermore, their usefulness is limited to analysis within Levy's system, and I am not convinced enough by the totality of his theoretical framework to consider investing the time and energy.
Altogether, Levy's A Theory of Harmony is a thought-provoking work which points interested performers, improvisers, composers, and theorists in plenty of new directions. While I wish Levy's ideas were fleshed-out in a more useful and accessible way, I am grateful that the text was published at all and made available to interested readers.
March 3, 2019
This is a dense work of music theory that explores the author's concepts of harmony (Wow! From the Title I bet you could have NEVER guessed that! Sorry, for the obvious opening), that, while thoroughly filled with examples is a bit removed from pratice. I once read that "writing about music is like dancing to architecture" and this book is intended for those deep into the study of Music Theory and Harmony.
Am I telling you not to read this? No, I am telling you that unless you are already well versed in theory and harmony this book will not move you along the path, but it might knock you off. This book was published in 1981 and quickly fell out of print (it is now available again from Amazon). This new popularity occured when Jacob Collier mentioned the book as being part of his development of his ideas on "Negative Harmony." Collier's comments lead to Levy's book and becoming all the rage among theory nerds who wanted to try to understand Collier a little better.
This is a dense and difficult read, but it is full of fascinating concepts.
It is worth it if this is your wheelhouse.
Am I telling you not to read this? No, I am telling you that unless you are already well versed in theory and harmony this book will not move you along the path, but it might knock you off. This book was published in 1981 and quickly fell out of print (it is now available again from Amazon). This new popularity occured when Jacob Collier mentioned the book as being part of his development of his ideas on "Negative Harmony." Collier's comments lead to Levy's book and becoming all the rage among theory nerds who wanted to try to understand Collier a little better.
This is a dense and difficult read, but it is full of fascinating concepts.
It is worth it if this is your wheelhouse.
April 15, 2019
This book is good to learn “Negative harmony”.
October 29, 2024
"Harmonic theory is about harmonic norms."
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"A glissando is a pitch motion, a continual becoming. A tone, however, is a being, an individual."
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"Pitch change may first be considered a continuum. The howling of a siren, the glissando on a string, are examples embodying that concept. Now, the human mind is so structured that it apprehends the continuum by starting from discrete quantities, and not vice-versa. The development of mathematics offers a case in point. We see it starting from units (integers) and slowly making its way towards the continuum (calculus). If we state 'There exists an infinity of tones', we have already separated the continuum into discrete quantities."
---
"Music ... is not primarily 'something that happens in the air'. It is something that happens in the human soul on the basis of a response to universal norms expressed in the tone structure."
---
"A glissando is a pitch motion, a continual becoming. A tone, however, is a being, an individual."
---
"Pitch change may first be considered a continuum. The howling of a siren, the glissando on a string, are examples embodying that concept. Now, the human mind is so structured that it apprehends the continuum by starting from discrete quantities, and not vice-versa. The development of mathematics offers a case in point. We see it starting from units (integers) and slowly making its way towards the continuum (calculus). If we state 'There exists an infinity of tones', we have already separated the continuum into discrete quantities."
---
"Music ... is not primarily 'something that happens in the air'. It is something that happens in the human soul on the basis of a response to universal norms expressed in the tone structure."
January 27, 2018
This book was a theoretical exploration of modern musical harmony by Ernst Levy, and it was overall very compelling and presented its unique ideas in an approachable manner. I discovered it through the YouTube interview by June Lee of Jacob Collier, in which he discusses a harmonic concept called negative harmony. This book finds itself being referenced by Collier more than once during the interview. I could go on and on about how useful and thought provoking the ideas presented in this book were, however for the sake of time, in summary, Levy did a great service to music by publishing this excellent novel. Glad I took the time to read it, and I will likely read it many times over to fully soak in everything. A Theory of Harmony has earned itself a special place in my music room from now on!
February 10, 2022
Dense language with next to no actual information. If you want to be bored by someones vain attempts at disguising their lack of insight with their contrived and clumsy use of the English language then this is the book for you.
January 27, 2021
This is the book that will show you all about negative harmony. Ernst Levy has a very good way of describing music theory in a way that's different than most.
August 5, 2021
Dense and abstract, very cool. 4 stars just because I disagree with a few of his qualitative assertions and find his analytical symbols convoluted.
Displaying 1 - 8 of 8 reviews